2016 Oscar Ballot

It's time for another Academy Awards ceremony! Tonight, we'll see how months of campaigning and award shows have panned out for Oscar voters- will MAD MAX: FURY ROAD earn George Miller his much deserved Best Director win? Will SPOTLIGHT be as much of a factor as everyone anticipated it would be late last year? And, on seemingly everyone's minds, will this finally be Leo's year? We'll find out when the curtains open at the Dolby Theater, tonight at 8:30 ET. But for your ballots and Oscar education pleasure, here are my "Will/Could/Should" predictions! Click here to see the ballot I'm using to follow along.

Best Picture
Will Win: THE REVENANT
Could Win: SPOTLIGHT
Should Win: MAD MAX: FURY ROAD

Commentary: Some are saying this is a three-way race between THE REVENANT, SPOTLIGHT, and THE BIG SHORT. All three won one of the top three guild prizes, with SPOTLIGHT taking the coveted SAG win, THE REVENANT taking the more indicative Oscar predictor DGA, and THE BIG SHORT shocked for a win at the PGA. There's also some speculation that MAD MAX: FURY ROAD will have enough passionate supporters to break through (as it should, MAD MAX will age significantly better than any of the other films nominated for Best Picture), but ultimately, THE REVENANT is going to win tonight, after winning the publicly important Golden Globes and the similar voting body at BAFTA.

Actor in a Leading Role
Will Win: Leonardo DiCaprio, THE REVENANT
Could Win: Michael Fassbender, STEVE JOBS
Should Win: Matt Damon, THE MARTIAN
Commentary: One of the weakest line-ups in this category that I have ever seen, this will 100% be DiCaprio's year to win an Oscar. I've never been wowed by any of his performances, and THE REVENANT is certainly one of his worst performances. But against a quite terrible selection of Best Actor nominees (though Damon made my final cut for one of the five lead actors of the year), this will be a case of pleasing the Internet and their endless fascination with DiCaprio.

Actress in a Leading Role
Will Win: Brie Larson, ROOM
Could Win: Saoirse Ronan, BROOKLYN
Should Win: Cate Blanchett, CAROL
Commentary: Best Actor looks even more pitiful when compared to the powerhouse quintet that comprises the nominees for Best Actress this year. Larson, Ronan, Rampling, and especially Blanchett all deserve love on the stage (is it too much to ask for a four-way tie??), and Lawrence certainly was the highlight of the disappointing JOY. But the prognostics don't lie- after sweeping the Golden Globes, the BAFTAs, the SAGs, and the Independent Spirit Awards, Larson will be the woman of the hour.

Actor in a Supporting Role
Will Win: Sylvester Stallone, CREED
Could Win: Mark Rylance, BRIDGE OF SPIES
Should Win: Sylvester Stallone, CREED
Commentary: Tom Hardy shocked on nominations morning with a surprise nomination (totally deserved, he's nearly perfect as the villain of REVENANT), but it was never not between Stallone and Rylance for this prize. Rylance (in addition to the snubbed Elba) has won where Stallone hasn't been eligible, but sentimentality will pave the way for a deserving win for Stallone, who gloriously returned as Rocky Balboa in CREED.

Actress in a Supporting Role
Will Win: Alicia Vikander, THE DANISH GIRL
Could Win: Kate Winslet, STEVE JOBS
Should Win: Kate Winslet, STEVE JOBS

Commentary: This is arguably the closest of the pretty locked-up Oscar race, with Vikander in the lead solely because of her more important win at the SAG awards. But Winslet has netted a tiny sum from BAFTA and the Globes (both of which had Vikander campaigning in lead), and quite frankly deserves this Oscar. She gave one of my favorite performances this year, and I would love to see her recognized for it. However, my money is on Vikander for having one of the best film years since Jessica Chastain in 2011.

Animated Feature Film
Will Win: INSIDE OUT

Could Win: ANOMALISA
Should Win: INSIDE OUT
Commentary: There's not a dud in the bunch in this category, and I highly recommend checking out the hilariously punny SHAUN THE SHEEP and the emotional WHEN MARNIE WAS THERE. But, don't bet against INSIDE OUT, which hasn't lost a win in this category yet. It's Pixar's best since UP, and easily secured a spot in my Top 5 for the year, and totally deserves to win in this insanely great list of nominees.

Cinematography
Will Win: THE REVENANT
Could Win: MAD MAX: FURY ROAD
Should Win: SICARIO
Commentary: The loveliest surprise on Oscar morning was seeing how perfect the lineup for Best Cinematography is. THE REVENANT is going to win Emmanuel "Chivo" Lubeski his third Oscar in a row for delivering yet another series of gorgeous images, but I think AMPAS should spread the love and award MAD MAX: FURY ROAD or CAROL prizes (why can't there be more ties?!?) for their stunning camerawork. However, it's ultimately the striking visual pleasure of SICARIO that earns my vote, both because Roger Deakins has never won an Oscar (!), and because SICARIO wasn't as big of a deal as it should've been in the Oscar race.

Costume Design
Will Win: MAD MAX: FURY ROAD
Could Win: CAROL
Should Win: CAROL
Commentary: This one is kind of hard to predict, it could be MAD MAX, CAROL, or even CINDERELLA. I'm betting MAD MAX is by and large going to sweep the technicals, but they could award CAROL here since they won't anywhere else (unfortunately).

Directing
Will Win: Alejandro G. Inarritu, THE REVENANT
Could Win: George Miller, MAD MAX: FURY ROAD
Should Win: George Miller, MAD MAX: FURY ROAD
Commentary: No director in the history of the Academy Awards has ever won back-to-back Oscars for Directing and also won back-to-back Best Picture. History will more than likely be broken tonight, as THE REVENANT is heavily expected to win both of these categories. I think George Miller could rally and pull an upset, especially if there's a lot of love for MAD MAX, though I find that unlikely considering how much love they put behind REVENANT.

Documentary (Feature)
Will Win: AMY
Could Win: THE LOOK OF SILENCE
Should Win: AMY
Commentary: The Academy overlooked LOOK OF SILENCE's predecessor THE ACT OF KILLING in 2013, and despite the continued rapturous response for the sequel, AMY is going to take the award for this category. It's a heartbreaking look at one of recent entertainment's most tragic figures, and made a killing at the box office to boot. Plus, it's won every precursor known to man.

Documentary (Short Subject)
Will Win: BODY TEAM 12
Could Win: CHAU, BEYOND THE LINES
Should Win: BODY TEAM 12
Commentary: BODY TEAM 12 is the most contemporarily relevant, and often surprising, film of the bunch. Predicting the shorts is a crab shoot, but this one has most precursors behind it.

Film Editing
Will Win: MAD MAX: FURY ROAD
Could Win: SPOTLIGHT
Should Win: MAD MAX: FURY ROAD
Commentary: SPOTLIGHT will need to win this award in order to win Best Picture, but most predictions have the Academy going for MAD MAX. It certainly does achieve the goal of making a ton of raw footage and crazy imagery stick together in one, freaking awesome whole.

Foreign Language Film
Will Win: SON OF SAUL
Could Win: MUSTANG
Should Win: SON OF SAUL
Commentary: I actually really like both of the frontrunners, but SON OF SAUL is a gripping and often terrifying first-person look into the Holocaust. Some are saying MUSTANG could pull an upset, but don't risk losing an easy point on your ballot and predict SON OF SAUL.

Makeup and Hairstyling
Will Win: MAD MAX: FURY ROAD
Could Win: THE REVENANT
Should Win: MAD MAX: FURY ROAD
Commentary: THE REVENANT has some pretty gnarly cuts and gashes, and the men do have caveman beards. But.. MAD MAX has War Boys, Immortan Joe, and Imperator Furiosa. You do the math.

Music (Original Score)
Will Win: THE HATEFUL EIGHT
Could Win: STAR WARS: THE FORCE AWAKENS
Should Win: CAROL
Commentary: Another pretty easy prediction, as Ennio Morricone has never won an Oscar despite behind a legend in the film industry's music scene. Despite some controversy surrounding the film itself, most people will want to award Morricone for his important career. (Also, I don't like to do the "should've been here" complaining, but why was Junkie XL's MAD MAX score never in the conversation for this category????? He announced himself loud and clear this year, between MAD MAX, BLACK MASS, and RUN ALL NIGHT. This should've been an easy nomination for the musician.)

Music (Original Song)
Will Win: "Writing's on the Wall", SPECTRE
Could Win: "'Til It Happens To You", THE HUNTING GROUND
Should Win: "Writing's on the Wall", SPECTRE
Commentary: Sam Smith's Bond theme grows on me with each new listen, and he's leading a close race between him, Lady Gaga for THE HUNTING GROUND, and The Weeknd for FIFTY SHADES OF GREY. I like all three songs well enough, but ultimately I can't say no to giving the under-nominated Bond themes some extra love.

Production Design 
Will Win: MAD MAX: FURY ROAD
Could Win: THE MARTIAN
Should Win: MAD MAX: FURY ROAD
Commentary: For some reason, I can vaguely see them giving THE MARTIAN an award here? It's certainly not going to be the ugly DANISH GIRL art direction, nor will it be BRIDGE OF SPIES (which certainly has the "most" production design, with fully furnished sets). THE REVENANT winning wouldn't surprise me, especially if they go all the way with their love for the picture. Ultimately, however, the insane design of MAD MAX will take the cake.

Short Film (Animated)
Will Win: WORLD OF TOMORROW
Could Win: SANJAY'S SUPER TEAM
Should Win: SANJAY'S SUPER TEAM
Commentary: Never count out a Netflix availability in any category, and in particular something as hard-to-find as the short films. WORLD OF TOMORROW is actually quite rewarding to watch, though I can't say no to showing some extra love to the team at Pixar with SANJAY'S SUPER TEAM.

Short Film (Live Action)
Will Win: SHOK
Could Win: AVE MARIA
Should Win: SHOK
Commentary: All five of these short films are worth checking out, I enjoyed watching them all yesterday. SHOK certainly has the gut-punch factor that's important for the short films, and has stuck with me longer than the rest. EVERYTHING WILL BE OK is the best made of the bunch, though it's far too long to make the impact it wants to achieve. AVE MARIA is perfectly fine as well, with some culturally resonant comedy.

Sound Editing/Sound Mixing
Will Win: MAD MAX: FURY ROAD/MAD MAX: FURY ROAD
Could Win: STAR WARS: THE FORCE AWAKENS/THE REVENANT
Should Win: MAD MAX: FURY ROAD/MAD MAX: FURY ROAD
Commentary: To explain the difference between these two categories, sound editing involves creating entirely new sounds, while sound mixing involves balancing all the sounds in a particular scene. However, by and large, they both end up going for the same movie. And this year, the rollicking soundtrack to MAD MAX is easily the best of the bunch.

Visual Effects
Will Win: MAD MAX: FURY ROAD
Could Win: STAR WARS: THE FORCE AWAKENS
Should Win: EX MACHINA
Commentary: Props to AMPAS for actually nominating some non-flashy effects work this year, like THE REVENANT and EX MACHINA, instead of the typical superhero parade. I can vaguely see them awarding STAR WARS somewhere, either in the sound or effects technicals. Sometimes they like to spread the wealth in terms of movies awarded, but this year I think it's going to be a MAD MAX takeover in all the smaller, but no less important, categories. I'd go for MAD MAX, though all five are definitely possibilities.

Writing (Adapted Screenplay)
Will Win: THE BIG SHORT
Could Win: ROOM
Should Win: CAROL
Commentary: Lots of great little nominee fun-facts in this category, but I'm almost positive they're going to give THE BIG SHORT it's due here. ROOM has an outside shot (hey, Lenny Abrahamson made the cut for Best Director despite no predictions in that regard), though I would love to see Phyliss Nagy's screenplay get some love here. Or THE MARTIAN! Such an awesome example of a screenplay for an action movie carrying the weight in terms of highly quotable dialogue, unexpected character developments, and creative sequences.

Writing (Original Screenplay)
Will Win: SPOTLIGHT
Could Win: INSIDE OUT
Should Win: INSIDE OUT
Commentary: This is slowly and surely becoming my favorite category at the Oscars, though the Academy is unfortunately going for my least favorite in the bunch. INSIDE OUT is a marvel in written imagination, BRIDGE OF SPIES keeps the pace going with well-rounded characters, EX MACHINA presents a barrage of layers with only three characters, and STRAIGHT OUTTA COMPTON is a biopic that remains fresh and relevant throughout the long runtime. SPOTLIGHT, in my opinion, had very little conflict (there was no sense that the story would never get published), one-dimensional characters based on exceptional real life people, and a silly collection of tangents that never get resolved (Liev Schriber laying people off never comes into play after the first twenty minutes, the 9/11 subplot feels forced in and not neccesary, etc.). I'm in the 1% minority of people that doesn't like SPOTLIGHT, but it's winning at least one Oscar here.

Well, there you have it! Enjoy the ceremony tonight, starting with the red carpet at 7:00 on ABC.

Oscar Nominations Predictions 2016

Tomorrow is the big day! The nominations for the 88th Academy Awards will be announced at 8:30 AM, and I couldn't be more excited about it. Just because I'm a super nerd, I've taken the time to break down all the nominees in all the categories I can accurately predict (sorry, the three short film categories seem to be almost random every year- though I am excited to watch them this year). This is kind of a listy post, but I'll provide commentary on the actual nominations tomorrow or in the next couple of days. Check back tomorrow to see how close I was!

Best Picture (assuming there will be 10 nominees, which there likely won't be)

• The Big Short
• Bridge of Spies
• Brooklyn
• Carol
• Mad Max: Fury Road
• The Martian
• The Revenant
• Room
• Spotlight
• Straight Outta Compton

Could Happen: Sicario

Best Director

• Alejandro G. Inarritu, The Revenant
• Todd Haynes, Carol
• Thomas McCarthy, Spotlight
• George Miller, Mad Max: Fury Road
• Ridley Scott, The Martian

Could Happen: Adam McKay, The Big Short

Best Performance by an Actor in a Leading Role

• Bryan Cranston, Trumbo
• Matt Damon, The Martian
• Leonardo DiCaprio, The Revenant
• Michael Fassbender, Steve Jobs
• Eddie Redmayne, The Danish Girl

Could Happen: Johnny Depp, Black Mass

Best Performance by an Actress in a Leading Role

• Cate Blanchett, Carol
• Brie Larson, Room
• Charlotte Rampling, 45 Years
• Saoirse Ronan, Brooklyn
• Alicia Vikander, The Danish Girl

Could Happen: Charlize Theron, Mad Max: Fury Road

Best Performance by an Actor in a Supporting Role

• Christian Bale, The Big Short
• Idris Elba, Beasts of No Nation
• Mark Rylance, Bridge of Spies
• Sylvester Stallone, Creed
• Jacob Tremblay, Room

Could Happen: Michael Shannon, 99 Homes

Best Performance by an Actress in a Supporting Role

• Jennifer Jason Leigh, The Hateful Eight
• Rooney Mara, Carol
• Rachel McAdams, Spotlight
• Helen Mirren, Trumbo
• Kate Winslet, Steve Jobs

Could Happen: Alicia Vikander, Ex Machina

Best Original Screenplay

• Bridge of Spies
• Ex Machina
• Inside Out
• Spotlight
• Trainwreck

Could Happen: Sicario

Best Adapted Screenplay

• The Big Short
• Brooklyn
• The Martian
• Room
• Steve Jobs

Could Happen: Carol

Best Cinematography

• Bridge of Spies
• Carol
• Mad Max: Fury Road
• The Revenant
• Sicario

Could Happen: Son of Saul

Best Visual Effects

• Furious 7
• Jurassic World
• Mad Max: Fury Road
• The Martian
• Star Wars: The Force Awakens

Could Happen: The Walk

Best Editing

• The Big Short
• Mad Max: Fury Road
• The Martian
• The Revenant
• Spotlight

Could Happen: Sicario

Best Original Score

• Bridge of Spies
• The Hateful Eight
• The Revenant
• Star Wars: The Force Awakens
• Steve Jobs

Could Happen: Carol

Best Original Song

• "Pray 4 My City", Chi-Raq
• "Love Me Like You Do", Fifty Shades of Grey
• "See You Again", Furious 7
• "Writing's on the Wall", Spectre
• "Simple Song #3", Youth

Could Happen: "Cold One", Ricki and the Flash

Best Foreign Language Film

• The Brand New Testament
• The Fencer
• Labyrinth of Lies
• Mustang
• Son of Saul

Could Happen: Theeb

Best Documentary Feature

• Amy
• Going Clear: Scientology and the Prison of Belief
• He Named Me Malala
• The Look of Silence
• Where to Invade Next

Could Happen: Listen to Me Marlon

Best Animated Feature

• Anomalisa
• Inside Out
• Minions
• The Peanuts Movie
• Shaun the Sheep: The Movie

Could Happen: The Good Dinosaur

Best Costume Design

• Brooklyn
• Carol
• Cinderella
• The Danish Girl
• Mad Max: Fury Road

Could Happen: Crimson Peak

Best Makeup & Hairstyling

• Mad Max: Fury Road
• Mr. Holmes
• The Revenant

Could Happen: Black Mass

Best Production Design

• Cinderella
• Crimson Peak
• The Danish Girl
• Mad Max: Fury Road
• The Martian

Could Happen: The Revenant

Best Sound Mixing

• Mad Max: Fury Road
• The Martian
• The Revenant
• Star Wars: The Force Awakens
• Straight Outta Compton

Could Happen: Bridge of Spies

Best Sound Editing

• Bridge of Spies
• Mad Max: Fury Road
• The Martian
• The Revenant
• Star Wars: The Force Awakens

Could Happen: Sicario

So, when it's all said and done, these are the five films that will have the most nominations:

• Mad Max: Fury Road- 11 Nominations
• The Martian- 9 Nominations
• The Revenant- 9 Nominations
• Bridge of Spies- 6 Nominations
• Carol- 6 Nominations

Be sure to keep checking the blog all Oscar season long, for some great predictions and commentary!

Top 10 Movies of 2015

In the grand total of 100 movies I saw in 2015 (the full list of which can be found here), I found myself most happy when it wasn't the art house or independent films that were pushing the boundary of cinema. Rather, it was when the blockbusters did. It was the films that made me not lose faith in the contemporary Hollywood system. It was the movies that studios took a huge risk in green-lighting, and put a lot of money behind to see that people watched them. Sure, the studios still churned out garbage, but those movies seemed to disappear in the tall shadow of modern classics that the same studios released a month later. Because of this, I want to look back at 2015 and remember that mainstream, commercial cinema can actually do some good for the medium. That what average filmgoers watch doesn't have to be derivative or sloppy. That you can make a fantastic movie when you give a big budget to the right director. But most importantly, I want to look at a studio head in the eyes, point to any of these Top 10, and say, "more of this please."

So, this is tmy Top 10 Movies of 2015. I am obsessed with all these in one way or another, and can safely say that most of them will end up in my list of best movies of all time. I want you to not only celebrate the best that the Big Six studios had to offer, but also take a chance and watch at least one of the lesser seen movies. Add some veggies to your cinematic diet! I split the mainstream/artsy stuff 50/50 on this list, so watch at least six of them and you'll grow as a person. Trust me. I certainly have this year.

10. Ex Machina (Alex Garland, 2015)

The competition for the #10 slot was tough. I could've chosen literally a dozen movies that are on par with each other that deserve to be in the Top 10 of 2015- It Follows, Brooklyn, Goodnight Mommy, Victoria, Kingsman: The Secret Service, and Spy among them. But Ex Machina is a film that has haunted me since I saw it all the way back in April. 2015's "It Girl" Alicia Vikander gives her best performance of the year as a robot that her creator (Oscar Isaac) believes has achieved sentience. These two, along with the man who came to test Vikander's Ava (Domhnall Gleeson), form a trimuverate of equally benevolent and menacing characters. Ex Machina is a mystery wrapped in the guise of a sci-fi horror drama- not easily fitting into one genre, but like the golden days of science fiction in the 1950's,  asks tough questions that don't easily have an answer. The ending will leave you breathless, and will leave you questioning your own existence for weeks afterwards. It was a tough call, but I believe Ex Machina deserves a place in this countdown.

9. The Martian (Ridley Scott, 2015)

Sure, every once in a while, you need a nice escapist trip to the movies. But who says that escapism can't be smart? That's the basic conceit of both The Martian and the novel it's based on- Matt Damon is trapped on Mars, and has to survive and communicate with NASA for three years before he can be rescued. It's pretty much a straightforward crowd pleaser, albeit one with an exceptionally talented ensemble, futuristic production design, a fun screenplay, and some of the finest direction Ridley Scott has ever accomplished. It's also the finest acting Damon has done, much better realized than his Oscar-nominated work in Invictus and Good Will Hunting. Though it's getting a lot of flack for being nominated as a Comedy at the Golden Globes this year, The Martian is one of the funniest films of the year, and certainly has as many laughs as it does gasp-inducing space action. It's a fine film, and honestly, I'm just happy the precursors are taking the time to honor this fun piece of moviemaking.

8. Star Wars: The Force Awakens (J.J. Abrams, 2015)

Star Wars: The Force Awakens should appear on everyone's Top 10 list if only because it wasn't the colossal disaster it so easily could have been. Not that we had much to worry about as Star Wars fans- between the return of the original's cast, a new crop of fresh talent both behind and in front of the camera, and a wealth of support from Disney, The Force Awakens really could have only been an unqualified success. It holds up even better on repeat viewings, and the nuances are better felt my interacting with any one of the multimedia's various spin-offs and companions. The characters are the best part of the film, with Rey (Daisy Ridley) providing an incredibly satisfying end to what many people are calling "the woman's year in film" (let's just hope Hollywood keeps that trend going). The villains are stronger than ever, with Darth Vader acolyte Kylo Ren leading the charge of the First Order. But more so than anything else, what's the best part of The Force Awakens? Seeing Harrison Ford slip so easily back into one of the greatest film characters of all time, proudly declaring to his co-pilot and best friend, "Chewie...we're home."

7. Chi-Raq (Spike Lee, 2015)

I've only recently starting diving into the filmography of Spike Lee, but even so, I can defiantly say that Chi-Raq is Spike Lee's best film since Jungle Fever. If this was simply a chaotic farce of women refusing to have sex until the men put down their guns, it would work extremely well. But what makes Chi-Raq utterly perfect is the attention to detail and care in editing a story as nuts as this one. It manages to blend the heartbreak of gun violence with the madness of the strike (and the worldwide effect it has) to make a comedy-drama the likes of which I've never seen. However, what makes Chi-Raq the #7 movie of the year? The fact that the only thing is told in verses and rhymes. And props for making lyrics to a song as the opening work way better than it ever should. Nick Cannon, Angela Basset, Teyonah Parris, Wesley Snipes, John Cusack (in hands-down the best performance of his career), Jennifer Hudson and Samuel L. Jackson are perfectly cast in this insane movie that deals with one of the most pressing issues of our time. This is an emergency problem, and it needs to be solved quickly. Maybe a sex strike wouldn't be so bad after all?

6. Son of Saul (Lazlo Nemes, 2015)

The "Holocaust film" as a sub-genre of cinema can seem repetitive, if not vastly important. However, when a film wins second place at the Cannes Film Festival despite being from a first-time director, it'll draw some eyes- regardless of the subject matter. And those that saw it certainly spread the word hard and fast- Son of Saul is a force to be reckoned with, an all-too-important reminder at the horror humanity is capable of committing. Told from the subjective point-of-view of the a Hungarian-Jewish prisoner (Gaza Rohrig, also acting for the first time with brilliant subtly in emotion), the camera literally follows the Sonderkommando around the Auschwitz concentration/death camp. He is one of the few men chosen to clean up the bodies of those killed in the gas chambers, but when he finds the boy he believes to be his illegitimate son, he obsesses about finding a rabbi to give the boy a proper burial. It's the biggest tearjerker and most intense film of the year, certainly not for the faint of heart, but an important reminder to why the "Holocaust film" genre needs to exist.

5. Sicario (Denis Villenueve, 2015)

Denis Villenueve made a shockingly underrated thriller in 2013 called Prisoners. Now, in 2015, he's hailed as one of the best directors of thrillers out there. This drug cartel epic that spans across Mexico and the southern reaches of the United States shows how far our supposed "war on crime" is willing to go to get the job done. Led by three career-defining performances by Emily Blunt, Josh Brolin, and an Oscar-worthy Benecio del Toro, Sicario features an international cast of men and women dedicated to making the world of Sicario authentic. Beyond the performances, a lot of the success of Sicario is owed to the jaw-dropping photography of maestro Roger Deakins, who shoots the Mexican and Texan landscapes with unique perceptions of light and color. Once the layers of the film are pulled back, and the viewer realizes that Emily Blunt is literally being pushed out of her own movie, the depth of Villenueve's genius is felt in full force. Sicario is a wild ride that stands with the best of 2015.

4. Creed (Ryan Coogler, 2015)

If you would've told me this time last year that the next movie in my beloved Rocky franchise would be in my top 5 of 2015, I probably would've shuddered in disbelief. I mean- have you seen the last two Rocky movies? Well, here we are, and Creed is the #4 film of the year. It's a triumphant fanfare of boxing excellence, with three distinctly different fight sequences shot in unique ways. Michael B. Jordan excels as the son of Apollo Creed, here crafting a character that we look forward to seeing in future installments. Not only that, but his "Adrian", played by Tessa Thompson, is an absurdly well-written character with her own motives and ambitions. Their palpable chemistry is so realistic, it'll make you wonder if this is actually a documentary. But lo and behold, out walks Sylvester Stallone, back in the fight as Rocky Balboa and giving the best supporting performance of the year. That's right- Sylvester Stallone acts his heart out, and reminds us why we fell in love with him in the first place. Ryan Coogler did us Rocky fans proud, and I can't wait for future installments.

3. Inside Out (Pete Docter and Ronnie del Carmen, 2015)

Hands down the smartest movie of the year is Inside Out, and leave it to the brains of Pixar to make it happen. It's a film hand-tailored for animation, taking us through the concepts of human psychology by bringing them to life in a way never before considered. The way the film deftly handles memory, subconscious, dreams, ideas, and imaginary friends is nothing short of creative wizardry. Just take the basic plot-line of the movie: When Joy and Sadness disappear, Anger, Fear, and Disgust take over for Riley's movements. Mind=Blown. You can watch this movie a dozen times and still find new things. Why is Riley the only one in the movie with gendered emotions? How long is long-term memory? Why is Pixar so good at what they do? Inside Out is funny, smart, and yes, highly emotional.

2. Carol (Todd Haynes, 2015)

My dearest Carol. My sweet, wonderful Carol. Where were we before you? How could we love without using Carol Aird (Cate Blanchett) and Therese Belivet (Rooney Mara) as a model for what to do? An LGBT love story (or simply, a love story, but I digress), Carol is the story of two women who fall in love during the 1950's. Auteur Todd Haynes, a queer legend who crafted two of the great contemporary films ([SAFE] and Far From Heaven), finally returns to the big screen with this lusciously designed period romance. Blanchett is the best actor working in show business today, and how marvelous it is to see her play Carol. I'm having a hard time telling readers why I love this film so much, I just... do. It flung out of space, and makes me fall in love with being in love. Just please, whatever you do, see it. I can't praise it enough.

1. Mad Max: Fury Road (George Miller, 2015)

Ah, Fury Road. What else can I say about this movie after singing it's praises just a few months ago? Well, just to reiterate, it's awesome. It's two hours of car chases and feminist awesomeness. It's a heart-stopping, adrenaline-charged rampage through all that we believe to be possible about the movies. It's the film that has had critics and a devoutly loyal fanbase call it one of the best films of the decade, and certainly one of the best action films ever made. Every little thing about the world of Mad Max feels utterly insane and creative. This is why we go to the movies. And what a lovely day it is to name Mad Max: Fury Road the best movie of 2015.

Movie Critic's Club Awards for the Best of 2015

Best Director: George Miller, Mad Max: Fury Road (Other nominees: Todd Haynes, Carol; Spike Lee, Chi-Raq; Lazlo Nemes, Son of Saul; Denis Villenueve, Sicario)

Best Actor in a Leading Role: Ian McKellen, Mr. Holmes (Other nominees: Matt Damon, The Martian; Michael Fassbender, Macbeth; Michael B. Jordan, Creed; Samuel L. Jackson, The Hateful Eight)

Best Actress in a Leading Role: Cate Blanchett, Carol (Other nominees: Laia Costa, Victoria; Saoirse Ronan, Brooklyn; Nina Hoss, Phoenix; Charlize Theron, Mad Max: Fury Road)

Best Actor in a Supporting Role: Sylvester Stallone, Creed (Other nominees: Benecio del Toro, Sicario; Harrison Ford, Star Wars: The Force Awakens; Oscar Isaac, Ex Machina; Tim Roth, The Hateful Eight) 

Best Actress in a Supporting Role: Kate Winslet, Steve Jobs (Other nominees: Jessica Chastain, Crimson Peak; Jada Pinkett Smith, Magic Mike XXL; Kirsten Stewart, Clouds of Sils Maria; Tessa Thompson, Creed)

Best Casting: Inside Out (Other nominees: Carol, The Martian, Spy, Star Wars: The Force Awakens)

Best Music: The Martian (Other nominees: Chi-Raq, Creed, Mad Max: Fury Road, Spy)

Best Screenplay: Inside Out (Other nominees: Brooklyn, Carol, Room, Sicario)

Best Sound: Mad Max: Fury Road (Other nominees: Creed, The Martian, Sicario, Star Wars: The Force Awakens)

Best Production Design: Inside Out (Other nominees: Carol, Crimson Peak, Mad Max: Fury Road, The Man From U.N.C.L.E.)

Best Cinematography: Sicario (Other nominees: Carol, It Follows, Son of Saul, Victoria)

Best Makeup and Hairstyling: Mad Max: Fury Road (Other nominees: Crimson Peak, The Hateful Eight, Mr. Holmes, Star Wars: The Force Awakens)

Best Costume Design: Carol (Other nominees: Brooklyn, Crimson Peak, The Man From U.N.C.L.E., Son of Saul)

Best Editing: Chi-Raq (Other nominees: The Big Short, Carol, Mad Max: Fury Road, Room)

Best Visual Effects: Ant-Man (Other nominees: Ex Machina, Krampus, Mad Max: Fury Road, Star Wars: The Force Awakens)

Top 10 James Bond Movies

Today, Daniel Craig's fourth (and possibly last) film as James Bond hits theaters, in the form of Spectre. It's an appropriate finish to the British actor's time as 007, pitting against the evil worldwide organization that started it all. However, as everyone well knows, there have been many iterations of the MI6 agents for over 50 years, and cinephiles are always decisive about which Bond flick is the best. Well, here is the argument to end them all: Movie Critic's Club's Top 10 James Bond Movies of all time, taking into account everything from Dr. No to Skyfall. As you probably know, I am a huge fan of 007, following him since childhood and even writing about the franchise on the blog. The Bond Girls, the Bond Villains, the gadgets, the cars, the exotic locales, the theme songs, the overpowering Britishness... there are so many things to adore about this super spy's movies. But today, after weeks of blood, sweat, and martinis, I have settled on my Top 10 James Bond movies (click here for the complete ranking of the entire series). So without further ado, here is the best films starring Bond. James Bond.

10. The Man with the Golden Gun (Guy Hamilton, 1974)

There are many aspects to hate about this movie (Mary Goodnight, Lulu's theme song, and the car flip for starters), but the reason this movie makes the Top 10 is for the sheer awesomeness of Christopher Lee, who recently passed away. His Francisco Scaramanga is infinitely more interesting than Roger Moore's James Bond, and who can forget his secret base- a Funhouse of terror!!! It's the sort of silly goodness that Moore's bonds excelled at, but they actually make a case here for Moore's ability to be both suave and deadly. Herve Villechaze is hillarious in it as well, as the midget henchman of Scaramanga. And Maud Adams excels at the ice-cold, yet damaged Bond Girl that we're sad to see go by the end. The climactic battle between Scaramanga and 007 is a highlight in the entire series, so despite all it's major faults, Lee's amazing work in the franchise earns The Man with the Golden Gun a spot in the Top 10.

9. Moonraker (Lewis Gilbert, 1979)

As you can tell, Moore's campy James Bond holds a special place in my heart. This was my favorite 007 as a child, so even though I find it droll and oftentimes boring now, I will always love seeing James Bond kick some bad guy butt in outer space. There's also some dark stuff going on in this movie: do you remember the woman getting eaten by dogs? Or the fact that bad guy Hugo Drax (Michael Lonsdale, with his quintessential villainous beard) tries to poison the entire population of Earth?!? Richard Kiel makes a welcome comeback as Jaws, and despite a cringe-worthy name, Lois Chile's Holly Goodhead is quite a spectacular Bond Girl. It was great seeing James Bond react to the Star Wars boom by literally going into outer space, and Moonraker is probably the best example of the campiness that a James Bond movie was capable of serving (I mean the space stuff is cheesy enough, but Bond fighting a python, duking it out with Jaws on a ski lift, and making the password to the secret lab the five-tone motif from Close Encounters of the Third Kind is nothing short of trashy brilliance).

8. You Only Live Twice (Lewis Gilbert, 1967)

I guess Lewis Gilbert had a thing for space. Anyways, for as slow as this movie is for much of the first and second acts, ultimate 007 baddie Ernst Stavro Blofeld has a VOLCANO LAIR. Plus, the crooning Nancy Sinatra theme song soars to unparalleled theme song heights (surpassed only by "Nobody Does It Better" from our #4 film), and the sweeping visuals of Japan are gorgeous to behold. The Little Nellie sequence is iconic for various reasons, and though it does practically nothing to further the plot, it is inspired action filmmaking. Donald Pleasance's performance as Blofeld is easily the best in his multiple incarnations, and the producers never got his casting quite right after this. His scar, his cat, his sheer villainous mannerisms are all pretty cool.

7. Thunderball (Terence Young, 1965)

Following up our #1 film is a monumental task, but Terence Young got pretty close to perfection with Thunderball. This is probably my favorite source novel in the Ian Fleming series, and the movie captures the kinetic energy quite well. It has some great spy stuff and gadgets as well, so that even when the plot slows down, you're never bored. Adolfo Celi's Emilio Largo is probably one of my favorite Bond villains (eyepatches should be an essential accessory for any white tuxedo), and he's one of the rare ones to be wonderful in both the dramatic scenes as well as the action ones. And though there's a lot of hatred for the underwater fights, I personally think they're some of the best shot scenes in the entire Bond oeuvre. It captures the spirit of the Cold War so well, and I'm still in love with the plot. Many publications have called this the best Bond film, and as you can tell, it's for good reason; very few Bond films work as well as Thunderball.

6. On Her Majesty's Secret Service (Peter R. Hunt, 1969)

Ok, I know I'm going to get a lot of flack for this one, but have you actually watched this movie recently? It's a heck of a film. Sure, George Lazenby is largely unsuited for the role of James Bond. However, move past that one-off casting, and you've got one of the most spectacular Bond films ever devised. Blofeld's brilliant follow-up to the volcano lair in You Only Live Twice is a frozen ski resort on top of a mountain. The plot is more complicated than it has any right to be (something about brainwashing beautiful women so that they can convince the global governments to forgive SPECTRE?), but just admiring the mountain visuals is more than enough to satisfy the average moviegoer. The ski chase scene is impeccably crafted, and leaves viewers bobbing and weaving with our hero. However, the best part of this amazing movie is Diana Rigg's Tracy Draco, the ultimate Bond Girl for many reasons. Her tragic marriage to 007 ends the only way it possibly can- in gunfire- but it's the one time in the pre-Craig era that we see Bond cry. It's a humanizing and important move that has implications for the entire series that follows. Most people try to ignore OHMSS, but if you just give it a chance, you'll see that it's actually a very rewarding experience.

5. Casino Royale (Martin Campbell, 2006)

It barely classifies as a Bond movie, but Casino Royale's origin story/reboot/reinvention of the James Bond character is the closest thing the franchise has to a classic epic. A tale of love and betrayal, of learning not to care for anyone in order to do your job, and realizing that the only person you can trust is yourself, this film feels like a mythological legend than an action movie. Daniel Craig silences all naysayers (remember when we were complaining that we couldn't possibly want a "Blonde Bond"?) by making Bond intimately human, capable of making mistakes but still being suave, sophisticated, and above all else brutal. It's the darkest Bond movie ever made, and features some of the strongest secondary characters in any 007 flick. Mads Mikkelson makes a creepy villain, and Eva Green is nothing short of captivating as Vesper Lynd- both more than capable of holding their own in the same frame as Craig. It's a trio of truly inspired performances, leading to one of the best made action movies in the better part of a decade.

4. The Spy Who Loved Me (Lewis Gilbert, 1977)

The best Roger Moore film for many reasons, The Spy Who Loved Me reinvigorated the franchise after falling largely flat in the wake of Diamonds are Forever and Live and Let Die. It saw James Bond jump off the mountainside with a Union Jack parachute- an iconic image that when paired with the iconic Bond them makes it the stuff of legend. Moore finds the right balance of comedy and action here, allowing him to trade quips with Agent XXX (Barbara Bach) and fist fight the indomitable Jaws (Richard Kiel) in the same scene. The music is all kinds of 70's goodness, led by the greatest Bond theme of all time, "Nobody Does It Better". The action scenes are work and flow really nicely in this one, and the tension between England and Russia feels properly rooted in reality. The sets are also amazing, taking our heroes from the opening Alps ski chase, to the pyramids in Cairo, to an underwater base so menacing it looks like a spider and calls itself "Atlantis".

3. Goldeneye (Martin Campbell, 1995)

Out of all the Bond movies ever made, Goldeneye was probably the riskiest endeavor. The Cold War had ended, a controversial Bond (Timothy Dalton) had just shamefully left the franchise, and Albert R. Broccoli's (the godfather of the franchise and it's constant producer since Dr. No) health was rapidly deteriorating. The world was left wondering whether Bond was even relevant anymore. However, as seen on many occasions, the filmmakers behind Bond work best when the odds are stacked against them. For Goldeneye is a near-perfect Bond movie, made with a precision and excellence that's uncommon to most action films. Picking up the mantle left by her father, Barbara Broccoli and Michael G. Wilson craft an excellent story from a post-Cold War environment, built upon the idea that the misfits left behind in the aftermath still want a war. Sean Bean is a great villain, and his Janus group (consisting of iconic characters like Xenia Onatopp, a disgraced Russian general, and Boris) is the best evil organization in the franchise besides SPECTRE. However, the most important part of Goldeneye is Pierce Brosnan- probably the definitive example of how Ian Fleming wanted Bond to look, walk, and talk. It shows how remnants of the Cold War still impact the world, and how only one man can save us... James Bond himself.

2. Skyfall (Sam Mendes, 2012)

Normally I hesitate to rank a recent movie so high on a Top 10 that spans across 50 years. However, I don't think anyone would argue that Skyfall is one of the best Bond movies ever made. It has all the right ingredients, but most importantly, it never loses sight that James Bond is the main character in this franchise. While many films' villains overshadow the hero, director Sam Mendes makes sure never to put anyone other than Daniel Craig's Bond in the spotlight. And that's hard to do when his co-stars are the criminally non-Oscar nominated performances of Judi Dench and Javier Bardem. Skyfall is the movie that makes M the Bond Girl, and makes it work so darn well- almost as well as Bardem in the IT-baddie role that's truly scary and creepy. The titular song by Adele harkens back to the original movies that made the franchise so succesfful, making Skyfall more of a traditional Bond arc than most of the Craig films. And it works really well- Moneypenny comes howling back with a vengeance, Q is quirkily reinvented as a young man, and Ralph Fiennes dutifully steps into the role of M will vigor and prominence. I love, love, love this movie, and any Bond fanatic should too.

1. Goldfinger (Guy Hamilton, 1964)

Was this ever not getting #1? Goldfinger sets up the Bond mythology by introducing for the first time (and never more effectively) in the perfect formula of the Bond Girl, Bond Villain, gadgets, cool car, henchmen, iconic quips/one-liners, and a plot so ludicrous it just might work. Sean Connery never shone as bright as he did when next to the likes of Auric Goldfinger and Pussy Galore- in many people's minds as the best Bond Girl/Bond Villain combination ever to grace the silver screen. What more can I say about this one? It doesn't get any better than this. Now, everybody start singing, "GOLLLLLLDDDDDD-FINGAHHHHHH", and buy your tickets to go see Spectre, in theaters everywhere now.

(NOTE: I will also say that if only the middle section of Die Another Day (the Ice Palace) existed, it would be in my Top 5. It's a shame that the horrifically terrible opening, and by-the-numbers ending overshadow a great sequence that includes Rosamund Pike being ice-cold and awesome, and Halle Berry beating Bond the punch by having some of the best double entendres in the franchise (though his "Mr. Kill" joke is pretty amazing).

2015 Summer Movie Oscars!

Hello gang, and welcome to the 2015 Summer Movie Oscars! Today, I'll be breaking down the best and the brightest highlights of this summer movie season. Much like the Academy Awards, I'll be discussing my favorite movies of the summer through the lens of an awards ceremony. The movies included on the list were released between May 1st-August 28th. And before you get too angry, these aren't nearly my predictions or desires to win real Oscars, just who and what I felt deserved the most recognition for leaving an impact on me this summer; as a result, these are all very mainstream picks in between some good artsy pieces. So, without further adieu, let's get on with the show!

Special Mentions:

Amy (Asif Kapadia)- Two movies really affected me this summer, but because they don't easily fit into any of the Oscar categories I've chosen to use here, I thought they deserved special mention. The first of these is Amy, a documentary that profiles the life of this Grammy-winning cultural phenomenon Amy Whinehouse. Through home-video footage of her, and testimonies from those who (for better or  worse) surrounded her on a daily basis, the documentary shines light on a life that many misunderstood and a everyone adored. The most affecting part of the documentary is the way Kapadia plays Amy's songs after certain events in her life, and viewers realize how personal and disturbing some of her most famous songs remain ("Rehab" in particular is much more dangerous than most people realize).

Shaun the Sheep Movie (Mark Burton, Richard Starzak)- For a good time, look no further than this frickin' hilarious British claymation feature from the people behind Wallace and Gromit. With zero dialogue and more puns than any single person can count, this family-friendly tale of survival in the big city is much better than you think it is. I was crying laughing so hard, and though it didn't make a whole lot of money in the US box office, I can say from personal experience that everyone who I saw it with absolutely adored it.




Best Music- Dope

A love letter to '90's hip-hop as much as it is a poignant portrait of contemporary African-American culture, the music of Dope really cements the film's key messages. It has you tapping your feet to the beat throughout the film, and the sheer epic-ness of the final song "It's My Turn Now" perfectly illustrates how timely and important this film remains. Bonus winner for Best Original Song goes to "Who Can You Turst" by Ivy Levan from Spy, for effectively capturing the essence of the Bond themes with this brassy, loud, wonderful song. 
(Other Nominees: Mad Max: Fury Road, Ricki and the Flash, Southpaw, Spy)


Best Visual Effects- Ant-Man

I'm including this award because the Academy loves to recognize summer movies here, so it felt natural to include it in a rundown of the summer movie Oscars. Out of all the movies to be released this summer, none felt visually as impressive as Ant-Man, for seamlessly blending the shrinking technology into the Marvel Universe without ever looking schlocky. It's probably not as impressive as the realness of Mad Max: Fury Road (more on that later, I promise), and wasn't as flashy as Jurassic World (which would have won Best IMAX Presentation if such a thing existed). But for a movie that I loved as much Ant-Man, I needed to recognize it somewhere. It visually impressed me the much, which only aided to how fun and escapist this movie was for me in the dog days of July.
(Other Nominees: Avengers: Age of Ultron, Jurassic World, Mad Max: Fury Road, Spy)

Best Supporting Actor- James Spader, Avengers: Age of Ultron

As problematic as this movie was at times, and for how disappointed I was in it's overall place in the Marvel Universe, one aspect of Age of Ultron I sincerely loved was the titular villain. James Spader captures Ultron with terrifyingly easy malevolence, and his delivery of some of the movie's best lines stuck with me more than anything else about this film. He is able to do a lot with a 7-foot tall baddie that destroys the Avengers from the inside, and his loose moral compass will affect the team for several movies to come. I found myself imitating Spader's performance for month's after the film's release, and in my book, that was enough to merit this win.
(Other Nominees: Michael Douglas, Ant-Man; Nicholas Hoult, Mad Max: Fury Road; Tye Sheridan, The Stanford Prison Experiment; Jason Statham, Spy)

Best Supporting Actress- Jada Pinkett Smith, Magic Mike XXL

For anyone who watched the magnificent Gotham this past year, they know how much of a scene-stealing powerhouse Jada Pinkett Smith is. And so it was with Magic Mike XXL that the best part of the movie was this female ringleader of the strippers in this deliberately more fun sequel. She dominates the film in every scene, and seems to be having the time of her life controlling the men to perform for the "Queens" of the audience. I beamed every time she showed up on the screen, and I never wanted her to leave Mike's side.
(Other Nominees: Kiercey Clemons, Dope; Julia Garner, Grandma; Evangeline Lily, Ant-Man; Kirsten Wiig, The Diary of a Teenage Girl)




Best Screenplay- Inside Out

Pixar's back! My second-favorite movie of the year so far was this timeless, vastly intelligent original work from the minds behind Up. The screenplay prides itself on traversing the real-world intricacies of the human brain, told from the perspective on the five basic emotions. Parts of this film blew my mind completely open, such as how Fear, Anger, and Disgust have to function alone when Joy and Sadness disappear. It's trippy stuff even for adults, and like the best Pixar features, older generations will love this film even more than kids. It should become mandatory viewing for all psychology classes; but, more importantly, it should be shown to all kids to show that it's ok to be sad sometimes. I loved this movie a lot in case you haven't been able to tell, and I really do recommend it to every and anyone who wants to be swept up in everything movies can do.
(Other Nominees: Dope, Mad Max: Fury Road, Spy, Trainwreck)



Best Actor in a Leading Role- Ian McKellen, Mr. Holmes

Few actors are as universally underrated in terms of awards as much as Ian McKellen, whose silent magnificence in heavy-hitters like X-Men and The Lord of the Rings hasn't earned him any Oscars because of the genre of the work. He's never really given a bad performance (even amidst some of the snoozier work he's done), and that streak continues with this summer's Mr. Holmes. The story of an aging Sherlock Holmes who's trying to remember his last case, McKellen plays the famous detective at various points in his later life, with different nuances in his facial expression showing the character's frustration and thoughts to brilliant effect. It's a tough argument to convince someone to see yet another incarnation of the British detective, but McKellen makes that argument null and void. The movie is charming enough, and the other actors are all fine, but it's McKellen that makes you want to see Mr. Holmes until the end.
(Other Nominees: Jason Bateman, The Gift; Tom Hardy, Mad Max: Fury Road; Jake Gyllenhaal, Southpaw; Shameik Moore, Dope)

Best Actress in a Leading Role- Charlize Theron, Mad Max: Fury Road

Anyone who knows me knows of my obsession with this critical darling of an action film, so get ready to hear me rant about my love. Let's start off by saying how indescribably AMAZING Charlize Theron is in Mad Max: Fury Road. Her character is infinitely more complex and better developed than even the title character, and was able to sneak in as the feminist action hero of the summer. She's stronger, faster, and delibaretly more exciting than her counterpart (and it's a wonder of the world what her and Tom Hardy were able to do together, literally sharing the action scenes and relying on each other without even the smallest morsel of romance or any of the other thousands of cliches usually reserved for male-female leads). Is a Signorney Weaver-type-action-heroine Oscar nomination too hard to ask for? Not if anyone actually journeyed the Fury Road. Theron is the woman to beat so far, and rightfully so; she's more progressive than any of the other female leads this summer, and deserves all the praise that's (hopefully) coming to her.
(Other Nominees: Nina Hoss, Phoenix; Melissa McCarthy, Spy; Mya Taylor, Tangerine; Charlize Theron, Mad Max: Fury Road; Lily Tomlin, Grandma)

Best Director- George Miller, Mad Max: Fury Road

But beyond sheer acting awesomeness from the lead character, Mad Max: Fury Road's sheer insanity and cinematic excess comes from the warped mind of George Miller. Returning to the franchise he originally worked on with Mel Gibson, the director spent considerable time making sure Fury Road looked as realistic and hardcore as possible. This is the what happens when you give a true artist a couple million dollar budget. Without Miller, this wouldn't have been the action spectacle it became. He was able to turn a literal two-hour car chase into a gorgeous piece of art that reminds viewers why they go to the movies in the first place. From that breathtaking sandstorm sequence, to the unbelievable craziness of the car battles, Miller should be thanked for generations to come for creating one of the best action movies of all time.
(Other Nominees: Pete Docter, Inside Out; Joel Edgerton, The Gift; Paul Feig, Spy; Marielle Heller, The Diary of a Teenage Girl)

Best Picture- Mad Max: Fury Road

I could keep ranting about the mesmerizing acting of the masterful directing of Mad Max: Fury Road. I could say it's the best action movie from the decade. I could also say that likely no other movie will top it for me this year. But that would be robbing it of it's importance as a summer blockbuster, one that seriously breaks the boundaries put forth by most blockbusters. It turns a woman into a character rightfully equal to the mad counterpart (as illustrated from the opening credits, which places her to the right, but ultimately higher-up than Tom Hardy on the same card), which is so depressingly rare that it's refreshing to say the least. It's a feminist action flick that ultimately tells viewers to rip down the patriarchy and install a new system of tranquility with Imperator Furiosa in charge. In all seriousness, as gleefullly gory and over-the-top action-packed it is, Mad Max: Fury Road is one of best feminist films in recent years, and one that will have both men and women equally cheering in their seats. This movie is why I love movies, and goes to show that despite all odds and everything I was saying negatively about it leading up to its release, films can still take my breath away.
(Other Nominees: Ant-Man, Dope, Inside Out, Spy)

Thanks for reading! This year, I hope to write on this blog some more... with some Top 10's I've been working on coming your way soon! To whet your appetite, I'm going to rank a certain film studio's greatest films, and (finally) discuss with you all my favorite installments of my cinematic hero...